All of today's connections are drawn from the writing and photography of my friend Jan Donley. References to her work have appeared several times on this blog (and The Quotidian Kit) right from the very beginning.* It was Jan who said, "September always smelled different from August. It just did." Likewise, October smells different from September; and November from October. As my son Sam said earlier today, "It smells good out here; it smells cold!" Yes -- it smells like November!
Gray / 21 November 2010
The bare trees covered the hillside, and from a distance, it looked as if the hill was covered in fur. Funny that way—how hard branches soften. . . .
The sun shone down from the western sky and pieces of light through the branches made stripes along the shaded ground.
[Out for a walk with her dog Gray] She could see her breath and Gray’s too as he panted along. They stopped at the edge of a drop, too steep to walk down. The sun disappeared behind a cloud, and the air turned colder. She grabbed Gray up into her arms and took in the warmth of his coat against her bare face. He squirmed to be set free. So she put him back down and squatted next to him—there on the edge of autumn looking out toward winter.
Opal looked out the window. A gray overcast filled the sky. Leaves hung on trees—orange, yellow, red. She watched one fall. It twirled and almost seemed to shine against the dark day.
She put on her red jacket and her brown shoes.
“I’m going outside!” she called, knowing that Aunt Frances may or may not hear her. Aunt Frances had her own worries, and sometimes Opal felt alone.
She opened the front door and ventured down the stoop steps and onto the grass, covered with leaves that rattled under her feet.
She made her way onto the sidewalk—also leaf-covered. She shuffled through the leaves and watched as their colors tumbled over her shoes. They crackled and popped. The sound made Opal laugh.
Some leaves fell from limbs and other swirled up from the ground.
It was just a fall day. Opal knew that. Days come and go, Opal thought.
But something in the swirling and the falling made her stop.
She twirled herself one, two, three times.
“I am a leaf,” she called to the sky, to the trees, to the day.
She ran along the sidewalk, her red coat glimmering on that gray day.
She chanted, “I am a leaf” down the block and across the wide street to the park with the pond and the ducks and the caw cawing crows.
It was enough for the moment, to be one of many swirling through the day.
Not necessarily an autumnal story,
but a back - to - school story,
so it must be Fall!
Sometimes you look up at the sun and you get blinded. You put your hand up as a shield, and you have sight again, but it’s kind of awkward to keep your hand there like that. And sometimes, you meet someone who blinds you, and even when you try to really see that person, it’s awkward. So you put your head down or look the other way. That’s how it was with Caroline.
She blinded me. . . .
The narrator here is Franny, trying to understand the complicated feelings she has for her classmate Caroline. One of my favorite elements of the story is their homework session:
“You really get these poems, don’t you?” And the truth was, I did. I could read a poem and figure out the puzzle of it faster than my mom could do the Daily Jumble in the Gazette.
For homework, we had to read “The Love Song of J. Alfred Prufrock” by T.S. Eliot. Mr. Zellner, our English teacher, got all teary-eyed when he talked to us about it. He carried the book around the classroom and read parts aloud:
Have known the evenings, mornings, afternoons,
I have measured out my life in coffee spoons.”
I looked around and most everyone, including Caroline, was yawning or staring out the window. Me, I was listening.
Mr. Zellner asked, “What do you think Eliot is trying to convey when he writes the line, ‘It is impossible to say just what I mean?’”
I raised my hand. . . .
“Well.” I looked down at the words in the poem. “He has all these memories bottled up. He wants them to mean something, but he’s not sure they mean anything at all.”
“You got all of that out of one line?” Caroline asked.
“It’s poetry,” Mr. Zellner said, as if that answered everything. He read some more of the poem:
I do not think that they will sing to me.”
"Mermaids . . . .” Caroline stared at the page, and then she looked up at me. “Why mermaids?”
“It’s a metaphor,” I said.
Mr. Zellner smiled really big. “Yes! Yes! That’s right. Did everyone hear Frances?”
I wished he would call me Franny; but for some reason, teachers liked to use full names.
Mr. Zellner continued, “Our poet, Mr. Eliot, is using the mermaid’s song as a metaphor for missed opportunities, for loss, for—” Mr. Zellner stopped. He looked around the room— “what we wish we had done. Haven’t you all had moments when you wished you had done something different? The poem is about regret.”
“Yeah,” Caroline said. “I think I get it. Thanks to Franny.”
I love the way Jan has incorporated literary analysis right into the body of the story. Everything she says here about "Prufrock" is exactly what I've tried to tell my students in the past and what I told Ben & Sam when (luckily!) they were each assigned to read this poem in high school. [Click to hear T. S. Eliot himself recite.]
I also like the way that when it comes to poetry, Franny just knows. I earned a similar credential when discussing Jane Hamilton's novel A Map of the World in one of my long ago book groups. There is a sad, sad scene in the book when Alice's family kind of accidentally (not maliciously but simply because they don't understand what it is or how important) throw away her map of the world. When I asked my fellow readers if they had reached that scene yet, they weren't sure, so I pointed it out to them, since to me it was such a crucial turning point, not to mention that it totally illuminates the title of the book. Upon a second reading, I had to admit that no where is it specifically stated: "No! Wait! Stop! The family is throwing her map away!" Yet, when the group asked me, how I knew -- well, I just know!
Playing on the theme of "Blind," Jan writes that even Mr. Zellner "squinted a little" not to mention that he gets "all teary-eyed" when reading "Prufrock!" Franny at first averts her eyes out of shyness but later "nodded into the bright sun" of Caroline; and Caroline takes a moment just to look at the sky, nothing more, nothing less. The story concludes with the two young women sitting on a park bench in the late afternoon autumn sun, discussing the difficulty of making direct eye contact, the varying degrees of vegetarianism, and their upcoming Emily Dickinson assignment. Then, as Emily would surely have it:
In the dark it was so much easier to see."
A few more Connections:
1. Jan enjoyed it awhile back when I told her that Franny's literary expertise reminded me -- in a good way of course! -- of Velma in Scooby-Doo. You know, that episode in which Daphne asks her, "Velma, do you have a book for every occasion?" And Velma replies, "Actually, yes." Which, in turn, brings to mind the question I was asked in college when I worked on the literary magazine: "Do you have a poem for every poem?" And, like Velma, I just had to say, "Actually, yes." Jan wrote back to me: "I am especially happy about your Scooby-Doo Reference. Diane loves her Scooby-Doo, and it's so much fun to have that allusion in the midst of Eliot and Hamilton, etc."
2. In other popular culture, Jan's description of Franny and Caroline sitting at the park reminds me of the leafy, sunny scene in the movie Harriet the Spy when the best friends all roll down the hill in the park:
3. Franny puzzles over a comment that Caroline makes about various boys in their class -- "He wants me" -- and asks her to explain, “What does that feel like?”
“What does what feel like?” Caroline asked.
“Being wanted. What does it feel like to be wanted?”
“You’re kidding me, right?” . . .
“Yeah,” I said. “I’m kidding.” But I wasn’t.
This exchange made me think of a "fun fact" about the casting of The Graduate: Robert Redford was considered for the role of Benjamin before Dustin Hoffman. But Redford disqualified himself when the directors told him that the character had to portray a sense of defeat -- like being turned down for a date on a Friday night. And Redford said something like, "Huh? What do you mean?"
Similarly in the musical Jersey Boys the three macho Seasons don't want to sing the song "Walk Like a Man," written by the fourth, more "emo" Season (Bob Gaudio, in real life). The three dudes are complaining that it makes no sense -- "What do you mean, like a man instead of a woman? Walk like a girl?" Gaudio says, "No, like a man instead of boy. It's about growing up, standing up for yourself, not being twisted around someone else's little finger." The others just gawk at him uncomprehending. What? Apparently they're just not the type to ever have been twisted around anyone's little finger. What does that feel like?
4. Additional Favorite Journal Entries that I would recommend:
Washington Street (see text below, in "Comments")
The rain fell on yellow leaves
* 5. Previous Jan Donley Posts on my blogs:
Lost & Found
9 / 11 Retrospective [also on Quotidian Kit]
Dagmar's Birthday [also on Quotidian Kit]
Everyone Loves Stories
Sleight of Hand
The Little Door
Happy Birthday Coyote!
6. A bit more "Prufrock"
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Next Fortnightly Post
Wednesday, November 28th
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